Welcome to my blog

I have created this site in order to provide performers, listeners and composers with a description of a composer's experiences with the creative process. The posts will provide discussions of the inspirations, challenges, and successes of a composer from the inception of the piece to the culmination in performance. I will provide a link to where you can see and hear the works in progress. Comments and questions are always welcomed. They will not posted unless you grant me permission.

Thursday, July 24, 2014

Chorale Preludes in Modern Settings Movement 6

This is the 6th movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments mostly play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

I chose to combine two of my favorite hymns for this movement, All Creatures of Our God and King and For the Beauty of the Earth. For the eight-measure introduction, I created a variation of All Creatures by using the high and low points of the opening phrase (perfect 5th) and the three note scalar motif. This variant has a lot of diminution (cutting the note values in half) making it faster sounding than the tune itself. The "Alleluia" section of the hymn closes out the introduction (measures 5-8).

At measure 9, flute 2 is given the "All Creatures" melody while the first flute uses fragments of the same tune as a counter melody. The fourth flute has a sustained harmony part while the third flute plays a staccato and accented note every time the 4th flute changes pitch. This technique serves two purposes. It gives the instruments something different to play while also emphasizing the harmonic change, and introduces the idea of staccato contrasting legato that will be developed later on.

This section quietly winds down before a forte D major chord appears suddenly at measure 27 as an introduction to the new key and the next section. Once again notice the use of staccato notes against the sustained notes. Because of the homogeneous sound of the flute choir, it is very difficult to have several melodies occurring simultaneously without clarity being lost. My solution was to do the "All Creatures" melody legato and the "Beauty" melody staccato. The 3rd flute has the "All Creatures" melody and the other flutes do fragments from the "Beauty" melody in counterpoint from measures 29-45. A coda built out of the last phrase of "Beauty" closes the movement.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Monday, July 21, 2014

Chorale Preludes in Modern Settings Movement 5

This is the 5th movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

Come Thou Almighty King begins with a festive introduction followed by three settings of the tune. The introduction establishes a motivic idea in the first flute that permeates the composition. The introduction has parts of the tune interspersed as well. It lasts from the beginning until measure 16.

The first setting of the tune goes from measure 19 through 35. The first two phrases are interrupted by a return to the introductory motive. The remaining phrases have the sixteenth note motive interwoven into the parts.

A change of key, dynamics, and style is used for the second statement that goes from measure 36 to 52. This section is more expressive and mostly slurred as opposed to the marcato/maestoso style of the outer sections. The first flute plays an obligato that is derived from the introductory material.

Measures 52 and 53 serve as a transition back to the maestoso and uses syncopation. The last setting is the most straight-forward. Flutes 2, 3 and 4 do the hymn in harmony while the first flute does a descant, again derived from the introductory material. A deceptive cadence at measures 69 and 70 that uses a major triads built on the lowered 6th degree and then the lowered 2nd degree of the scale, creates a surprise ending. The sudden dynamic change adds to the surprise.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Friday, July 18, 2014

Chorale Preludes in Modern Settings Movement 4

This is the 4th movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

Holy, Holy, Holy is set with two contrasting elements. The first is a chromatic, slightly atonal section at the beginning and between the two verses that suggests the mystery of faith. The second is the settings of the chorale itself in a tonal treatment with counter-melodies. The chromatic, slightly atonal sections use a thinner texture as well. They also outline the rhythm of the hymn and that gives these sections an air of familiarity.

The treatment of the hymn is similar both times. I divide the hymn tune between all four flute parts by giving the 4th flute the tune in measures 1 and 2, the 2nd and 3rd flutes the melody in measures 3 and 4, and the first flute the melody in measures 5-8. One of the challenges in writing for flute choir is the limited range of the flutes that makes it difficult to not cross voices when the lines are independent. You will notice that when the 2nd and 3rd flutes have the melody, there is an octave leap in the middle in order to avoid the cross voices. Another challenge is balance as the flute's low register is weak dynamically. Having an alto and/or bass flute helps the 4th flute line project. If this is played only with the 4th flute, care must be taken to balance the ensemble. The moving lines around the melody should be thought of as an obligato or descant part. The ending is like a written out ritard accounting for the use of the 2/4 and 3/4 measures. It also has a deceptive cadence in measure 52.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Monday, July 14, 2014

Chorale Preludes in Modern Settings Movement 3

This is the 3rd movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

Christ, the Lord, Is Risen Today is the chorale that I used for this movement. An eight measure introduction that has a triadic melodic idea echoed by a slightly syncopated idea sets up some of the major elements used in this setting. Measures 9 - 20 has a diminutive version of the tune. This is followed by an interlude in imitation. At measure 35, the key changes and the triadic motif from the introduction is combined with fragments of the tune. The key changes again at measure 43 as the previous section's ideas are restated. Measure 51 brings the listener back to the original key and treats part of the closing phrase of the him sequentially before modulating to F major at measure 59. The concluding section uses the tune in a more straight-forward manner but it is accompanied by the syncopated rhythmic motif from the introduction. The tune phrases are divided between the high and low instruments. The ending uses a surprise deceptive cadence before concluding.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Wednesday, July 9, 2014

Chorale Preludes in Modern Settings Movement 2

This is the 2nd movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

I chose "Wondrous Love" for this chorale prelude. After a quiet introduction in 3/4 for four measures, the meter changes to 4/4 for the tune. I have set two verses of this plaintive melody in the 2nd and 3rd flutes. The first flute plays a descant all the way through. The 4th part has an independent bass line. All this creates a three-part counterpoint. The first verse has rests between each of the phrases where the descant and bass line fill in the gaps. The second verse eliminates the rests between phrases. The movement ends with a repeat of the last phrase as a coda.

I found the harmony of this tune fascinating. It is very modal and while it appears to be in c minor, it begins and ends on a subdominant (iv) chord. I made the harmony even more interesting by alternating between the major form of the submediant (VI) and a borrowed minor version. This can be observed by the use of D or Db, therefore creating the two different versions of the chord.

The other thing to note is my judicious use of staccato in this primarily legato tune. The tune itself is almost always legato (slurred) and to set off the decant which crosses above and below the tune, I use staccato notes. The bass line also becomes staccato at times to support the descant. I hope that this variation in articulation creates interest and also aids in the clarity of the lines.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Sunday, July 6, 2014

Chorale Preludes in Modern Settings Movement 1

I have begun work on a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

The first chorale is Now Thank We All Our God. After a two-measure festive introduction, a two-beat fragment of the tune is treated in imitation for four measures. This is followed by two measures of festive music and then the last two measures of the first phrase of the tune. A slight shift in tonality brings in a setting of the third phrase of the tune at measures 11 - 18. Measures 1 - 8 returns at measure 19 but down a step for the first two measures. A four measure interlude that is slightly dissonant ushers in another variation of the tune that lasts until measure 42. The four measure interlude brings the listener to the final variation where the low flutes have the tune stated in augmentation while the upper flutes do the festive tune and fragments in imitation. Measure 69 introduces some chromatically altered chords that build in tension and excitement until the end.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B